SHIRLEY HORN — Loads of Love + Shirley Horn with Horns (1990) Serie PolyGram Jazz Vocal Classics | FLAC (tracks+.cue), lossless

Two of pianist/vocalist Shirley Horn's rarest (and earliest) recordings are reissued in full on this single CD. Actually, Horn does not play piano at all, sticking exclusively to vocals, and she had less control over the interpretations (being persuaded to sing some songs at faster-than-usual tempos) than she would later on. The arrangements for the big bands that back Horn were written by Jimmy Jones and Quincy Jones and, although the overall music is enjoyable, Horn would have much preferred to be the pianist behind her own vocals. Since she would only record two other albums during the next 15 years (sticking to playing locally in the Washington, D.C., area while raising her daughter), this CD gives one a valuable look at the early Shirley Horn; her distinctive vocal style was already nearly fully formed. Scott Yanow
Loads Of Love
1 Wild Is Love 1:29
Written-By – Wayne, Rasch
2 Loads Of Love 2:24
Written-By – Richard Rodgers
3 My Future Just Passed 2:40
Written-By – Marion, Jr., Whiting
4 There's A Boat That's Leaving Soon For New York 2:41
Written-By – Ira & George Gershwin
5 Ten Cents A Dance 3:49
Written-By – Rodgers & Hart
6 Only The Lonely 3:05
Written-By – Cahn/Van Heusen
7 The Second Time Around 3:12
Written-By – Van Heusen/Cahn
8 Do It Again 2:56
Written-By – DeSilva, Gershwin
9 It's Love 2:01
Written-By – Comden/Green, Bernstein
10 That's No Joke 2:37
Written-By – Bailey
11 Love For Sale 3:50
Written-By – Porter
12 Who Am I 2:49
Written-By – Stone, Bullock
Shirley Horn With Horns
13 On The Street Where You Live 2:15
Written-By – Lerner/Lowe
14 The Great City 2:02
Written-By – Lewis
15 That Old Black Magic 2:34
Written-By – Mercer/Arlen
16 Mack The Knife 3:01
Written-By – Brecht, Weill, Blitzstein
17 Come Dance With Me 2:13
Written-By – Van Heusen/Cahn
18 Let Me Love You 3:04
Written-By – Howard
19 After You've Gone 2:59
Written-By – Creamer, Layton
20 Wouldn't It Be Loverly 3:42
Written-By – Lerner/Lowe
21 Go Away Little Boy 3:26
Written-By – Goffin/King
22 I'm In The Mood For Love 2:47
Written-By – McHugh/Fields
23 The Good Life 3:11
Written-By – Reardon, Distel
24 Wee Small Hours 3:20
Written-By – Hilliard, Mann
Credits:
Arranged By, Conductor – Jimmy Jones (tracks: 1 to 12)
Baritone Saxophone – Gerry Mulligan (tracks: 1 to 12)
Bass – Milt Hinton (tracks: 1 to 12)
Drums – Osie Johnson (tracks: 1 to 12)
Guitar – Kenny Burrell (tracks: 1 to 12)
Piano – Bobby Scott (tracks: 13, 16, 18, 20), Hank Jones (tracks: 1 to 6, 8 to 10, 12), Jimmy Jones (tracks: 7, 11, 14, 15, 17, 19, 21 to 24)
Producer, Conductor – Quincy Jones (tracks: 13 to 24)
Saxophone – Al Cohn (tracks: 1 to 12)
Saxophone, Flute – Frank Wess (tracks: 1 to 12), Jerome Richardson (tracks: 1 to 12)
Trombone – Jimmy Cleveland (tracks: 13 to 24)
Trumpet – Ernie Royal (tracks: 1 to 12), Joe Newman (tracks: 1 to 12)
Violin – Gene Orloff (tracks: 1 to 12)
Vocals – Shirley Horn

HARRY EDISON — Mr. Swing + The Swinger (1999) 2CD | Serie Verve Elite Edition | FLAC (tracks+.cue), lossless

The late Harry "Sweets" Edison was one of the acknowledged masters of swing trumpet; this reissue combines the original LPs The Swinger and Mr. Swing into a two-CD set with the addition of the previously unreleased "How Am I to Know?" and an Edison original, "Blues in the Closet" (no relation to the Oscar Pettiford piece with the same name). Edison and tenor saxophonist Jimmy Forrest work well together, inspiring one another with lyrical lines on the ballads like "The Very Thought of You," and Edison's easygoing blues "Pussy Willow," but also heat up the session with their playing on an up-tempo Basie-like blues in "Nasty." Edison switches to open horn during most of the second CD. Forrest's vibrato-filled solo on "Ill Wind," and Edison's memorable rendition of "Baby, Won't You Please Come Home?," including both open and muted trumpet solos, are second-half highlights. Pianist Jimmy Jones, bassist Joe Benjamin, drummer Charlie Persip, and rhythm guitarist Freddie Greene make up the capable rhythm section. This reissue is a part of the Verve Elite limited-edition series with only 6,500 copies pressed. Ken Dryden
Tracklist 1 :
1 Pussy Willow 7:34
Harry "Sweets" Edison / Duke Ellington
2 The Very Thought of You 6:08   
Peter Gosling / Ray Noble
3 Nasty 5:24
Harry "Sweets" Edison
4 The Strollers 6:58
Harry "Sweets" Edison
5 Sunday 6:58
Chester Conn / Benny Krueger / Ned Miller / Jule Styne
6 Fairground 5:06
Harry "Sweets" Edison
7 How Am I to Know? 7:18
Gordon Jenkins / Jack King
Tracklist 2 :
1 Love Is Here to Stay 9:52   
George Gershwin / Ira Gershwin
2 Short Coat 9:46
Harry "Sweets" Edison
3 Baby, Won't You Please Come Home 5:10
Charles Warfield / Clarence Williams
4 Impressario 8:42
Harry "Sweets" Edison
5 Ill Wind 5:53
Harold Arlen / Ted Koehler
6 Blues in the Closet 9:15
Harry "Sweets" Edison / Oscar Pettiford
Credits :
Bass – Joe Benjamin
Drums, Timpani – Charlie Persip
Guitar – Freddie Green
Piano – Jimmy Jones
Tenor Saxophone – Jimmy Forrest
Trumpet – Harry Edison

CLIFFORD BROWN – Joy Spring (2005) 4xCD BOX-SET | FLAC (tracks+.cue), lossless

Joy Spring is a four-CD, budget-priced box set from the folks at Proper in the United Kingdom. This is a pretty handsome overview that touches on all aspects of Clifford Brown's mighty but tragically brief career. Disc one, "Dial B Fr Beauty" contains sides he cut in 1952 as a member of Chris Powell and the Blue Flames; documents from his stint with Tadd Dameron; tracks from a short-lived quintet with Lou Donaldson, Elmo Hope, Percy Heath, and Philly Joe Jones in 1953, and sides recorded when he was part of J.J. Johnson's Septet -- all these sides virtually chronicle Brown's ascent into the jazz world and serve, so to speak, as a showcase for the first three sides he cut on his own, in a band that included Charlie Rouse, Art Blakey, John Lewis, Gigi Gryce, and Heath, with material arranged by Quincy Jones. Standout cuts are "Wail Bait," and "Hymn of the Orient," as well as Dameron's "Choose Now." Disc two, entitled "Conception," begins with Brown's own sextet and his versions of "Cherokee," and "Brownie Eyes." Later in '53, Brown played with Art Farmer in Sweden, and with a European orchestra that included a number of stalwarts like Walter Williams, Gryce, and Pierre Michelot, with Jones writing the charts. But the coolest stuff here are the sides cut with the Brown/Gryce sextet and octet, these also commence disc three, entitled "Clifford's Axe," which straddles September of 1953 to October of that same year. Disc three is rounded out with the first-ever-performances-on-record of the Clifford Brown-Max Roach quintet as they cut "All God's Chillun Got Rhythm" and "Sunset." The final CD in this package is devoted almost exclusively to this last group of musicians -- the Clifford Brown-Max Roach quintet -- documenting the various phases they went through in 1954. From "Dahoud" and "Delilah" to "Jor Du" and their stellar read of "Parisian Thoroughfare." The box set closes with a cut from Sarah Vaughan backed by Brown, Roy Haynes, Paul Quinichette, Herbie Mann, Jimmy Jones, Ernie Wilkins, and Joe Benjamin, on a lovely version of "You're Not the Kind" with a sweet and moving Brown solo. This is a fine introduction to Brown, nicely priced, with decent sound, and it makes a great companion to the excellent Emarcy LPs of the Brown-Roach bands.
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa'<-
Tracklist :
CD1 Dial B For Beauty
CD2 Conception
CD3 Clifford's Axe
CD4 I Get A Kick Out Of You
All Tracks + Credits :

STUFF SMITH – 1939-1944 | The Classics Chronological Series – 1054 (1999) FLAC (tracks), lossless

This segment of the Stuff Smith story finds the fiddler facing personal and professional difficulties that prevented him from recording as much as he'd have liked to. The music that did get committed to wax is more or less uniformly satisfying. The first five selections heard here benefit greatly from the presence of trumpet ace Jonah Jones. "Big Wig in the Wigwam," a song with little redeeming social value when presented by Lionel Hampton, became a solid piece of swing when Stuff's band got a hold of it. Here it bristles with elements of "Diga Diga Doo" and Stuff's earlier rowdy masterpiece "Old Joe's Hittin' the Jug." Four titles released on the budget Varsity label in 1940 include a Grenadine-flavored sob story by Stella Brooks, two high-spirited group vocals, and a wild "Crescendo in Drums," with violin improvisations that seem like premonitions of the sound currents that Leroy Jenkins would be generating with his violin many years later. In November of 1943, Stuff Smith & His Trio made ten sides for the World Broadcasting Service, with Stuff's solos resembling some of Eddie South's best work, with flourishing touches worthy of Florian Zabach. Featured here and on the following two sessions were bassist John Levy and pianist Jimmy Jones, both excellent improvisers who were perfectly suited to Stuff Smith's style and persona. A quartet date with amplified guitarist Mary Osborne sports a pair of modernistic studies in blue, and the vocal duet between Stuff and Osbourne is deservedly famous among people who are interested in historical collaborations. This fine CD closes with six additional trio sides produced by Moses Asch, sounding pleasantly progressive for 1944. arwulf arwulf       Tracklist + Credits :

STUFF SMITH – 1944-1946 | The Classics Chronological Series – 1081 (1999) FLAC (tracks), lossless

Violinist Stuff Smith's third Classics CD (which wraps up his dates as a leader prior to the mid-'50s) starts off with 16 numbers from 1944-1946, many of which are rarities. Smith is heard leading various trios (sidemen include pianists Jimmy Jones and Billy Taylor) on music recorded for the Savoy (with Billy Daniels and Rosalie Young having vocals), Baronet, Selmer, Musicraft, and Town & Country labels; Sarah Vaughan sings on "Time and Again." Best is the Selmer date, which has versions of "Perdido," "Bugle Call Rag," and Smith's "Desert Sands." Also included on this CD are Smith's six recordings with Alphonso Trent's notable territory band during 1928-1930 (including classic versions of "After You've Gone" and "St. James Infirmary"). All three Classics Stuff Smith CDs are easily recommended. Scott Yanow     Tracklist + Credits :

REX STEWART – 1946-1947 | The Classics Chronological Series – 1016 (1998) FLAC (tracks+.cue), lossless

After leaving Duke Ellington's Orchestra, cornetist Rex Stewart went to Europe for a few years, recording extensively. This entry in Classics' "complete" series has a four-song studio session and a jam cut shortly before Stewart went overseas plus sessions in Paris (including six tunes from a concert) and Stockholm. The music is fairly erratic overall. There are some fireworks on a quartet date with pianist Billy Kyle, bassist John Levy, and drummer Cozy Cole, and the two-part, privately recorded "I May Be Wrong" has its moments. With the exception of a previously unreleased alternate take of "Blue Jay" from 1945 (which has a vocal by Joya Sherrill) that had been discovered and was tagged on to the end of this CD, the other selections find Stewart heading a group also including trombonist Sandy Williams (he has some of his best late-period solos), John Harris on clarinet and alto, tenor-saxophonist Vernon Story, pianist Don Gais, Simon Brehm or Fred Ermelin on bass, and drummer Ted Curry. Stewart sings "Run to the Corner" and Honey Johnson is strangely country-oriented on "Waitin' for the Train to Come In"; otherwise the performances are instrumentals. Although Stewart plays in his usual fiery mainstream swing style, some of the arrangements are a bit boppish and do not work that well, plus the recording quality is decent but not great. The overall results are not without their strong moments but are a little uncomfortable and not too essential. However, it is nice to have this formerly scattered music put out in coherent order. Scott Yanow
Tracklist + Credits :

SARAH VAUGHAN – 1946-1947 | The Classics Chronological Series – 989 (1998) FLAC (tracks+.cue), lossless

The second installment in the Classics Sarah Vaughan chronology concentrates almost exclusively upon her Musicraft recordings made between July 1946 and November 1947. After hearing her in performance at the Three Deuces on 52nd Street, producer Albert Marx lost no time in drawing up a three-year contract between the singer and Musicraft. Backed by two different bands led by her soon-to-be husband, trumpeter George Treadwell, as well as by Teddy Wilson's Quartet and Octet, Vaughan makes each song into a miracle of elegance, style, and grace. The collective lineup of jazz players in this portion of her discography is stunning, with saxophonists Don Byas, Budd Johnson, Charlie Ventura and "Big Nick" Nicholas; trumpeters Buck Clayton and Emmett Berry; and drummer J.C. Heard, whose lifelong admiration for Vaughan dates back to these exquisite performances. The version of "Tenderly" she recorded on July 2, 1947, is said to have been the first recording ever made of this melody, which was composed by Musicraft's musical director, Walter Gross. (Charles Mingus liked to point out that "Tenderly" was closely based upon "September in the Rain," and demonstrated what he regarded as a case of plagiarism by performing something called "Septemberly" on his groundbreaking Debut album Mingus at the Bohemia.) This disc also documents Vaughan's excursion into less jazzy, more sugary pop-oriented circumstances. This was a path similar to that taken during the late '40s by her mentor, Billy Eckstine, and by Charlie Parker and Billie Holiday. Eckstine later explained that he opted for lucrative work as a pop singer for MGM rather than starving while leading a modern jazz band. Three of the Vaughan recordings included here, in fact, came out on the MGM label. At no point does she sound anything less than marvelous. Her "Lord's Prayer," originally issued on the flip side of an earthier "Sometimes I Feel Like a Motherless Child," comes across beautifully. Ted Dale & His Orchestra, while espousing somewhat slick arrangements and instrumentation, retain some measure of hipness and integrity, which is more than can be said for certain other ensembles she sang with in late 1947 and early 1948. And let this all serve as a reminder that Sarah Vaughan could sing anything under any circumstances. That's why they call her "Divine." arwulf arwulf  
Tracklist + Credits :

SARAH VAUGHAN – 1947-1949 | The Classics Chronological Series – 1101 (2000) FLAC (tracks+.cue), lossless

Classics #1101 captures Sarah Vaughan early in her career from 1947-1949. These Musicraft and early Columbia sessions paved the way for her future success as a leading jazz vocalists. Featuring 23 tracks, Vaughan is backed by orchestras led by Ted Dale, Richard Maltby, Joe Lippman, and Hugo Winterhalter, while also recording more jazz oriented material with the Jimmy Jones Quartet featuring Al Mckibbon on bass and Kenny Clarke on drums. While these combination string arrangements/jazz sessions only contain a handful of essentials ("Just Friends," "I Cried For You," "Nature Boy") they represent the beginning of that commercial balance Sarah Vaughan would successfully bounce back and forth between during her long career. Al Campbell
Tracklist + Credits :

SARAH VAUGHAN – 1949-1950 | The Classics Chronological Series – 1166 (2001) FLAC (tracks+.cue), lossless

This fourth installment in the Classics Sarah Vaughan chronology demonstrates her extraordinary versatility during the first stages of a fully blossoming artistic maturity. Four exquisite sides with the Joe Lipman Orchestra are followed by an MGM session in duet with crooner Billy Eckstine, backed by Lipman's Orchestra and strings. Given the fact that it was Eckstine who gave Vaughan her first break in showbiz, the pairing has a special charm. Aside from this MGM deviation, Vaughan was a Columbia recording artist during this time period. By far the best jazz on this disc was recorded on May 18 and 19, 1950, with accompaniment by pianist Jimmy Jones and his band. The front line of Miles Davis, Benny Golson, Budd Johnson, and Tony Scott, backed by the rhythm section of Jones, bassist Billy Taylor, J.C. Heard, and either Mundell Lowe or Freddie Green, matches the vocalist's every nuance to perfection. The combination of Miles Davis and Sarah Vaughan is a marvel not to be missed. There is some confusion between discographies regarding various brassy big band sides, as some tracks are credited both to the Norman Leyden Orchestra (with Bud Powell at the piano!) and to Mitch Miller & His Orchestra. Miller, of course, was no stranger to modern jazz, having also participated in some of Charlie Parker's With Strings sessions. Whoever actually headed the band, Sarah Vaughan's "Perdido" is delightful and invigorating. This interesting disc closes with a wild surprise in the form of "De Gas Pipe She's Leakin' Joe," a campy calypso spoof on the topic of suicide, so atypical of Sarah Vaughan that it could easily fool almost anyone in a blindfold test. The word again is "versatility." arwulf arwulf  
Tracklist + Credits :

BESSIE SMITH – 1923 | The Classics Chronological Series – 761 (1994) FLAC (tracks+.cue), lossless

This document of Smith's first year in the studio reveals a blues giant in full command of her talents. And while later dates -- especially the epochal 1925 sessions with Louis Armstrong -- offer more in the way of the era's horn-blowing royalty, these early sides nicely showcase Smith in the unadorned company of a variety of top pianists like Clarence Williams and Fletcher Henderson. The Empress of the Blues flexes her vocal muscle throughout, ranging from Broadway fare like "Baby Won't You Please Come Home" to the dark-hued rumblings of "Graveyard Dream Blues." She also revels in the provocative ambiguities of "Nobody in Town Can Bake a Sweet Jelly Roll" and puts her stamp on the future blues warhorse "'Tain't Nobody's Bizness If I Do." From the opening strain of her first best-seller, "Downhearted Blues," until the end of the disc, lovers of classic female blues will find plenty here to keep them enthralled. Stephen Cook
Tracklist + Credits :

BESSIE SMITH – 1923-1924 | The Classics Chronological Series – 787 (1994) FLAC (tracks+.cue), lossless

For sheer power, substance and depth, there is nothing in the world quite like the voice of Bessie Smith. Any portion of her recorded legacy can be rewarding if the listener takes the time to contemplate the interplay between singer and accompanists while the theatrical tale of each song unfurls itself. This particular grouping of 24 recordings made between October 1923 and August 1924 reveals a visceral young woman on her way to completely dominating the scene as the definitive female blues singer of the 1920s. One of the great delights in studying Smith's music is the science of paying attention to her backing instrumentalists. Fletcher Henderson, who accompanied so many blues vocalists throughout the early '20s, sounds like he's in perfect accord with the singer on "Any Woman's Blues." Teamed with Don Redman on six titles, Henderson blows on a siren whistle during the "Haunted House Blues," causing Smith to holler "Lord, help us to get right!" Harry Reser, banjo/guitar ace and leader of various hunky-dory novelty groups including the Cliquot Club Eskimos, appears twice on this CD, providing exceptionally fine accompaniment and incidentally doing his part to break up the color line six years before Eddie Condon recorded with a racially mixed group for Victor. The disc finishes off with four selections featuring trombonist Big Charlie Green, arguably the most sympathetic instrumentalist that Smith ever worked with. arwulf arwulf  
Tracklist + Credits :

TRUMMY YOUNG – 1944-1946 | The Classics Chronological Series – 1037 (1998) FLAC (tracks+.cue), lossless

Compare Trummy Young's vocal on Jimmie Lunceford's "Easy Street," or the songs he sang in front of his own All-Stars in 1945 (see Classics 888) with the infrequently heard speech and singing voice of Lester Young. Trummy had a high, smooth delivery that sounded quite similar to Lester's speaking tone as heard on live broadcasts and Prez's outrageously naughty improvised singing on his Verve recording of "It Takes Two to Tango." These men had a lot in common. They both hung out with Billie Holiday, not as her boyfriends but as pals, drinking and smoking companions who could be trusted. The fundamental common denominator was: hipness. Trummy and Prez were definitively hip. They both eased into early modern jazz without any problems whatsoever. Trummy's activity during the mid-'40s is outlined in detail by this core sample of rare recordings. Listen to Trummy's passionate singing on "Talk of the Town," a shaming and blaming exercise that could never have been written by a woman. Rather than merely hassling his ex, Trummy seems to be demonstrating the loneliness that all people have in common. "Hollywood" is a jam, but the band on "Good 'n Groovy" is considerably tougher. Ike Quebec, for example, sounds as truculent as a truckload of nails. Buck Clayton's been lifting weights. It's 1945 and the music is changing. There's bop in the air, and R&B is everywhere. The phrase "Rattle and Roll" describes a throw of the dice but the music is about carousing and getting into harmless trouble. "I'm Living for Today" is Trummy's ode to feeling good and refusing to worry about anything. Keynote recording artist Kenny Kersey drives "Behind the Eight Bar" with exceptionally fine boogie piano, and the band rocks out. Just in case you thought "Four or Five Times" was antiquated, check out Trummy's ultra cool version with lyrics describing DTs and military insubordination, a special treat for the V-Disc audience. A fabulous five-minute "Tea for Two" boils over largely because Roy Eldridge puts it in the broiler. Some of the white singers included in this part of the chronology sound terribly square. The hip antidote to the white vocal group billed as the Holidays can be found on "Tidal Wave" (no relation to the Fletcher Henderson tune), which is a big-band boppish feature for Herbie Fields, who disturbs the peace using both alto and tenor saxophones. The Hot Record Society proceedings of Trummy Young's Big Seven, like most of the material brought out on HRS, have plenty of solid solos based upon original compositions of inconsistent creative merit. George Johnson's "Frutie Cutie" and "Johnson Rock" are simple melodies designed for uncomplicated jamming. On the other hand, "Blues Triste" and "Lucky Draw," composed by pianist Jimmy Jones, are beautiful, elegant mood pieces, every bit cool as Trummy and Prez and Lady Day. arwulf arwulf  
Tracklist & Credits : 

JOHNNY HODGES — Everybody Knows Johnny Hodges (1992) GRP Presents The Legendary Masters Of Jazz | FLAC (tracks+.cue), lossless

The solo projects of Johnny Hodges were not so much individualistic divergences away from his duties with the Duke Ellington Orchestra, but served more as extensions of the vintage, classic style of jazz tailored to his personalized sound away from what he had to compete with sitting next to the raft of talent in Duke's big band. Working here in the mid-'60s with groups ranging from an octet to a 12-member (featuring nine extra tracks not included on the original 33 1/3 LP) or 15-piece group, Hodges showcases many of his original compositions. He primarily employs Ellington personnel, with the exception being the quite able Jimmy Jones at the piano on the majority of these selections. His son Johnny Hodges, Jr. plays drums on two tracks when Grady Tate or Gus Johnson sits out, while bass players chosen by the legendary alto saxophonist include the formidable Ernie Shepard and a young Richard Davis. These quite famous numbers are loaded with pungent solos by cream of the crop jazzmen such as trumpeter Cat Anderson, woodwind specialists Russell Procope and Jimmy Hamilton, the deeply soulful tenor saxophonist Paul Gonsalves, and nimble trombonist Lawrence Brown. If you are a devout fan, you'll easily recognize favorites like the harmony-strewn evergreen "Main Stem" with fluttering clarinet and a patented Anderson solo, the Billy Strayhorn ballad "A Flower Is a Lovesome Thing" where Hodges is fully featured, "Mood Indigo" where the group is stripped down to four horns in guarded repast, and the very slow "Jeep's Blue" as the piano of Jones takes center stage. Brown's introduction and theme for "Do Nothin' Till You Hear From Me" sweetly showcases the underappreciated trombonist. Hodges wrote or co-wrote several of these tracks, including the lesser-known spiky-accented and vibrato-laden "Papa Knows" as offshoots of its precedent, "Mama Knows," and the two-note bass-heavy title track, delivered quicker than the established 4/4 rhythm. "Good Queen Bess" is a basic Count Basie-type bluesy theme, and there's the distinctly Ellingtonian blues "Little Brother" and the always rousing "Stompy Jones," where Procope and the gang trade lines profusely. It would be difficult to pick a favorite or a clunker, and you'd be hard-pressed to find anything more inspired or another project loaded with this much talent. Everybody knows Johnny Hodges and this stellar collection of all-stars, because they are absolutely the best at what they do. Michael G. Nastos
Tracklist :
1     Everybody Knows 7'25
Johnny Hodges    
2     A Flower Is a Lovesome Thing 3'04
Billy Strayhorn    
3     Papa Knows 6'52
Johnny Hodges    
4     310 Blues 4'34
Billy Strayhorn    
5     The Jeep Is Jumpin' 2'45
Duke Ellington / Johnny Hodges / Billy Strayhorn
6     Main Stem 3'28
Duke Ellington    
7     Medley : I Let a Song Go Out of My Heart / Don't Get Around Much Anymore 4'44
Duke Ellington / Irving Mills / Henry Nemo / John Redmond / Bob Russell
8     Open Mike 3:09
Cat Anderson    
9     Stompy Jones 4'00
Duke Ellington    
10     Mood Indigo 4'25
Barney Bigard / Duke Ellington / Irving Mills
11     Good Queen Bess 3'07
Johnny Hodges    
12     Little Brother 5'11
Cue Hodges / Johnny Hodges    
13     Jeep's Blues 5:43
Duke Ellington / Johnny Hodges
14     Do Nothin' Till You Hear from Me 2'34
Duke Ellington / Bob Russell
15     Ruint 3'21
Mercer Ellington / Johnny Hodges
16     Sassy Cue 3'42
Cue Hodges / Johnny Hodges
Credits :
Alto Saxophone – Johnny Hodges (pistas: 1 to 4, 9 to 16), Russell Procope (pistas: 5 to 16)
Baritone Saxophone – Harry Carney (pistas: 5 to 8)
Bass – Ernie Shepard (pistas: 1 to 4), Richard Davis (pistas: 9 to 16)
Drums – Grady Tate (pistas: 1 to 4), Gus Johnson (pistas: 9, 11, 13 to 16), Johnny Hodges, Jr. (pistas: 10, 12)
Engineer – Bob Simpson (pistas: 1 to 8), Rudy Van Gelder (pistas: 9 to 16)
Piano – Jimmy Jones (pistas: 1 to 4, 9 to 16)
Tenor Saxophone – Jimmy Hamilton (pistas: 5 to 8), Paul Gonsalves (pistas: 1 to 4, 9 to 16)
Trombone – Britt Woodman (pistas: 5 to 8), Buster Cooper (pistas: 5 to 16), Lawrence Brown (pistas: 1 to 4, 9 to 16)
Trumpet – Cat Anderson (pistas: 1 to 4, 9 to 16), Herb Jones (pistas: 5 to 8), Ray Nance (pistas: 1 to 4, 9 to 16), Rolf Ericson (pistas: 5 to 8)
Notas.
Tracks 1-8 Recorded On February 6, 1964 At Capitol Studios, New York City.
Tracks 9-16 Recorded On March 8, 1965 At The Van Gelder Studio In Englewood Cliffs,New Jersey.
Tracks 1-8 from "Johnny Hodges - Everybody Knows Johnny Hodges"
Tracks 9-16 from "Lawrence Brown's All-Stars With Johnny Hodges ‎– Inspired Abandon"

JOHNNY HODGES - Triple Play (1967-1996) RM | FLAC (tracks+.cue), lossless

Altoist Johnny Hodges is heard in three different settings on this reissue CD. Such top swing stars as trumpeters Ray Nance, Cat Anderson and Roy Eldridge, trombonists Buster Cooper, Lawrence Brown and Benny Powell, tenors Paul Gonsalves and Jimmy Hamilton, baritonist Harry Carney, pianists Hank Jones and Jimmy Jones (the latter two sometimes together), guitarists Tiny Grimes, Les Spann and Billy Butler, bassists Milt Hinton, Aaron Bell and Joe Benjamin and drummers Gus Johnson, Rufus Jones and Oliver Jackson are heard in nonets with the great altoist. Despite the many changes in personnel, the music is pretty consistent, with basic swinging originals, blues and ballads all heard in equal proportion. As usual, Johnny Hodges ends up as the main star. Scott Yanow
Tracklist :
1     Take 'Em off, Take 'Em off, Pt. 1 3:39
(Johnny Hodges)
Piano – Hank Jones
Piano [2nd] – Jimmy Jones
Guitar – Tiny Grimes    
Cornet – Ray Nance
Bass –  Milt Hinton
Drums – Gus Johnson
Alto Saxophone – Johnny Hodges
Tenor Saxophone – Paul Gonsalves
Trombone – Buster Cooper
2     Take 'Em off, Take 'Em off, Pt. 2 2:56
(Johnny Hodges)
Piano – Hank Jones
Piano [2nd] – Jimmy Jones
Cornet – Ray Nance    
Bass –  Milt Hinton
Drums – Gus Johnson
Guitar – Tiny Grimes
Tenor Saxophone – Paul Gonsalves
Trombone – Buster Cooper
Alto Saxophone – Johnny Hodges    
3     The Nearness of You 3:46
(Hoagy Carmichael / Ned Washington)
Piano – Hank Jones
Piano [2nd] – Jimmy Jones
Cornet – Ray Nance
Bass –  Milt Hinton
Drums – Gus Johnson
Guitar – Tiny Grimes
Tenor Saxophone – Paul Gonsalves
Trombone – Buster Cooper
Alto Saxophone – Johnny Hodges    
4     Monkey on a Limb 3:53
(Johnny Hodges)
Piano – Hank Jones
Piano [2nd] – Jimmy Jones
Cornet – Ray Nance
Bass –  Milt Hinton
Drums – Gus Johnson
Guitar – Tiny Grimes
Tenor Saxophone – Paul Gonsalves
Trombone – Buster Cooper
Alto Saxophone – Johnny Hodges
5     A Tiny Bit of Blues 4:53
(Johnny Hodges)
Piano – Hank Jones
Piano [2nd] – Jimmy Jones
Cornet – Ray Nance
Bass –  Milt Hinton
Drums – Gus Johnson
Guitar – Tiny Grimes
Tenor Saxophone – Paul Gonsalves
Trombone – Buster Cooper
Alto Saxophone – Johnny Hodges
6     For Jammers Only 3:02
(Claude Bolling)
Piano – Jimmy Jones    
Bass – Aaron Bell
Drums – Rufus Jones
Guitar – Les Spann
Tenor Saxophone – Jimmy Hamilton
Trombone – Lawrence Brown
Trumpet – Cat Anderson
Vibraphone – Bill Berry    
7     On the Way Up 2:52
(Johnny Hodges)
Piano – Jimmy Jones
Bass – Aaron Bell
Drums – Rufus Jones
Guitar – Les Spann
Tenor Saxophone – Jimmy Hamilton
Trombone – Lawrence Brown
Trumpet – Cat Anderson
Vibraphone – Bill Berry    
8     Big Boy Blues 3:20
(Johnny Hodges)
Baritone Saxophone – Harry Carney
Bass – Joe Benjamin
Drums – Oliver Jackson
Guitar – Billy Butler
Piano – Nat Pierce
Piano [2nd] – Jimmy Jones
Trombone – Benny Powell
Trumpet – Roy Eldridge
Alto Saxophone – Johnny Hodges    
9     The Very Thought of You 2:49
(Ray Noble)
Piano – Jimmy Jones
Guitar – Les Spann
Bass – Aaron Bell      
Drums – Rufus Jones    
Tenor Saxophone – Jimmy Hamilton
Trombone – Lawrence Brown
Trumpet – Cat Anderson
Vibraphone – Bill Berry
Alto Saxophone – Johnny Hodges
10     Fur Piece 6:22
(Johnny Hodges)
Baritone Saxophone – Harry Carney
Bass – Joe Benjamin
Drums – Oliver Jackson
Guitar – Billy Butler
Piano – Nat Pierce
Piano [2nd] – Jimmy Jones
Trombone – Benny Powell
Trumpet – Roy Eldridge
Alto Saxophone – Johnny Hodges
11     Sir John 3:19
(Johnny Hodges)
Piano – Jimmy Jones
Drums – Rufus Jones
Bass – Aaron Bell
Guitar – Les Spann
Tenor Saxophone – Jimmy Hamilton
Trombone – Lawrence Brown
Trumpet – Cat Anderson
Vibraphone – Bill Berry    
Alto Saxophone – Johnny Hodges
12     Figurine 2:39
(Johnny Hodges)
Piano – Jimmy Jones
Bass – Aaron Bell
Drums – Rufus Jones
Guitar – Les Spann
Tenor Saxophone – Jimmy Hamilton
Trombone – Lawrence Brown
Trumpet – Cat Anderson
Vibraphone – Bill Berry    
Alto Saxophone – Johnny Hodges
13     C Jam Blues 4:21
(Barney Bigard / Duke Ellington)
Baritone Saxophone – Harry Carney
Bass – Joe Benjamin
Drums – Oliver Jackson
Guitar – Billy Butler
Piano – Nat Pierce
Piano [2nd] – Jimmy Jones
Trombone – Benny Powell
Trumpet – Roy Eldridge
Alto Saxophone – Johnny Hodges

BILLY STRAYHORN & JOHNNY HODGES - The Stanley Dance Sessions (2005) FLAC (tracks), lossless

Tracklist :
1    Cue's Blue Now 10:03
Written By – Strayhorn, Hodges
2    Gone With The Wind 4:19
Written By – Wrubel, Magidson
3    Cherry 5:54
Written By – Redman, Gilbert
4    Watch Your Cue 3:11
Written By – Strayhorn, Hodges
5    You Brought A New Kind Of Love To Me 7:23
Written By – Kahal, Norman, Fain
6    When I Dream Of You 3:33
Written By – Carpenter, Hines
7    Rose Room 6:08
Written By – Hickman, Williams
8    Don't Get Around Much Anymore 3:00
Written By – Ellington, Hodges
9    I Got It Bad (And That Ain't Good) 3:39
Written By – Ellington, Webster
10    Gal From Joe's 2:30
Written By – Ellington
11    Your Love Has Faded 3:02
Written By – Strayhorn, Ellington
12    I'm Just A Lucky So-And-So 3:23
Written By – Ellington, David
13    Jeep's Blues 3:22
Written By – Ellington, Hodges
14    Day Dream 4:00
Written By – Strayhorn, Ellington
15    Juice A-Plenty 3:22
Written By – Hodges
16    Azure 2:35
Written By – Ellington
17    Tailor Made 3:38
Written By – Mullens, Hodges
18    Star Dust 4:30
Written By – Carmichael
Credits 1-7
Trumpet – Harold "Shorty" Baker
Alto Saxophone – Johnny Hodges
Trombone – Quentin Jackson
Bass –  Al Hall
Clarinet – Russell Procope
Drums – Oliver Jackson
Piano – Billy Strayhorn
Credits 8-18
Alto Saxophone – Johnny Hodges
Arranged By, Conductor – Billy Strayhorn
Baritone Saxophone, Bass Clarinet – Harry Carney
Bass – Aaron Bell
Bass Trombone – Chuck Connors
Clarinet, Alto Saxophone – Russell Procope
Clarinet, Tenor Saxophone – Jimmy Hamilton
Drums – Sam Woodyard
Piano – Jimmy Jones
Tenor Saxophone – Paul Gonsalves
Trombone – Lawrence Brown,
Trumpet – Bill Berry, Cat Anderson, Ed Mullens, Harold "Shorty" Baker, Howard McGhee
Notas.
Reissue of two albums originally released as Cue For Saxophone and Johnny Hodges With Billy Strayhorn And The Orchestra.
Tracks 1 to 7 recorded in New York, April 14, 1959.
Tracks 8 to 18 recorded in Englewood Cliffs, New Jersey, December 11 & 12, 1961.

JOHNNY HODGES | WILD BILL DAVIS ft. LES SPANN & MUNDELL LOWE - Blue Hodge (2007) FLAC (tracks+.cue), lossless

"Blue Hodge"    
1    And Then Some 4:06
Written-By – Johnny Hodges
2    I Wonder Why 4:30
Written-By – Mercer Ellington
3    Azure Te 2:57
Written-By – Duke Ellington, Irving Mills
4    Blue Hodge 6:19
Written-By – Gary McFarland
5    Hodge Podge 4:04
Written-By – Duke Ellington, Johnny Hodges
6    It Shouldn't Happen To A Dream 3:10
Written-By – Don George, Duke Ellington, Johnny Hodges
7    Why Are You Blue? 3:25
Written-By – Gary McFarland
8    Knuckles 5:11
Written-By – Johnny Hodges
9    Stand By Blues 4:30
Written-By – Johnny Hodges
10    There Is No Greater Love 3:27
Written-By – Isham Jones, Marty Symes
Personnel 1-10 :
Alto Saxophone – Johnny Hodges
Organ – Wild Bill Davis
Bass – Sam Jones
Drums – Louis Hayes
Guitar, Flute – Les Spann
From "Blue Rabbit"    
11    Blues O'Mighty 4:57
Written-By – Johnny Hodges
12    Fiddler's Fancy 2:52
Written-By – Johnny Hodges
13    Things Ain't What They Used To Be 4:18
Written-By – Mercer Ellington, Ted Persons
14    Wisteria 3:14
Written-By – Jimmy Jones, Mercer Ellington
15    Satin Doll 2:32
Written-By – Billy Strayhorn, Duke Ellington, Johnny Mercer
16    Mud Pie 4:10
Written-By – Johnny Hodges
Personnel 11-16 :
Organ – Wild Bill Davis
Alto Saxophone – Johnny Hodges
Bass – Richard Davis
Guitar – Mundell Lowe
Drums – Osie Johnson
From "Blue Notes"    
17    Rent City 3:52
Written-By – Johnny Hodges
18    Sometimes I'm Happy 2:46
Written-By – Clifford Grey, Irving Caesar, Vincent Youmans
19    The Midnight Sun Will Never Set 3:35
Written-By – Quincy Jones
20    Sneakin' Up On You 5:38
Written-By – Chip Taylor, Ted Daryll
Personnel 17-20 :
Alto Saxophone – Johnny Hodges
Arranged By, Conductor – Jimmy Jones
Baritone Saxophone, Bass Clarinet – Danny Bank
Bass – George Duvivier
Bass Trombone – Tony Studd
Drums – Grady Tate
Guitar – Eric Gale
Harmonica – Buddy Lucas
Piano – Hank Jones
Tenor Saxophone, Clarinet – Jimmy Hamilton
Tenor Saxophone, Flute – Frank Wess, Jerome Richardson
Trumpet – Ernie Royal, Snooky Young
Vibraphone – Joe Venuto
Notas.
Tracks 1 to 10 recorded in New Jersey on August 23 and 24, 1961, and issued as Blue Hodge.
Tracks 11 to 16 recorded in New York on April 28 and 30, 1964, and issued on Blue Rabbit.
Tracks 17 to 20 recorded in New York on October 24, 1966, and issued on Blue Notes.
The CD erroneously credits track 13 to "Ted Parsons" and track 20 to "Creed Taylor."

JOHNNY GRIFFIN - White Gardenia (1961-1995) RM | Original Jazz Classics Limited Edition Series | APE (image+.cue), lossless

Tenor saxophonist Johnny Griffin pays tribute to Billie Holiday, who had died exactly two years earlier, on this ballad-oriented set, which has been reissued on CD. Griffin is joined by a brass section (either five or seven pieces), plus a rhythm section and strings (the latter dominated by cellos), for his warm interpretations of nine songs associated with Billie Holiday, plus his original "White Gardenia." The arrangements, provided by Melba Liston and Norman Simmons, are tasteful, and the lyrical music is well-performed, if not overly memorable. Worth checking out. Scott Yanow
Tracklist :
1     Gloomy Sunday 4'06
Sam M. Lewis / Rezsö Seress
2     That Old Devil Called Love 3'50
Doris Fisher / Allan Roberts
3     White Gardenia 3'18
Johnny Griffin
4     God Bless the Child 3'17
Billie Holiday / Arthur Herzog, Jr.
5     Detour Ahead 4'33
Lou Carter / Herb Ellis / John Freigo / Johnny Frigo
6     Good Morning Heartache 4'10
Ervin Drake / Dan Fisher / Irene Higginbotham
7     Don't Explain 4'43
Billie Holiday / Arthur Herzog, Jr.
8     Travelin' Light 4'06
Harry Akst / Sidney Clare
9     No More 3'57
Tutti Camarata / Bob Russell
10     Left Alone 2'54
Eric Dolphy / Billie Holiday / Mal Waldron
Credits :
Arranged By – Melba Liston (pistas: 1 to 3, 7, 9, 10), Norman Simmons (pistas: 4 to 6, 8)
Bass – Ron Carter
Drums – Ben Riley
French Horn – Ray Alonge
Guitar – Barry Galbraith
Piano – Barry Harris (pistas: 2, 5, 8), Jimmy Jones (pistas: 1, 3, 4, 6, 7, 9, 10)
Producer – Orrin Keepnews
Remastered By – Phil De Lancie
Tenor Saxophone – Johnny Griffin
Trombone – Jimmy Cleveland, Paul Faulice, Urbie Green
Trumpet – Ernie Royal, Nat Adderley
Trumpet, Flugelhorn – Clark Terry

CLARK TERRY QUINTET with DON BUTTERFIELD - Top and Bottom Brass [Riverside] (1959-1992) RM | FLAC (tracks+.cue), lossless

This lesser-known Clark Terry session (reissued on CD in the OJC series) has an unusual lineup with the flugelhornist joined by Don Butterfield on tuba, pianist Jimmy Jones, bassist Sam Jones and drummer Art Taylor. Butterfield has nearly as much solo space as C.T. (and is given a prominent role in the ensembles) while Jimmy Jones's chordal solos are somewhat eccentric. Terry is in fine form on a variety of blues, originals and obscurities along with the interesting versions of "My Heart Belongs to Daddy" and "A Sunday Kind of Love" but the results overall are not all that significant. Scott Yanow
Tracklist :
1     Mili-Terry 4'19
Smith, Terry
2     The Swinging Chemise 6'58
Duke Ellington
3     My Heart Belongs to Daddy 3'13
Cole Porter
4     Blues for Etta 7'22
Grant / Terry
5     Top 'N' Bottom 4'51
Clark Terry
6     "127" 8'06
Pauline Terry
7     A Sunday Kind of Love 3'24
Barbara Belle / Anita Leonard / Louis Prima / Stan Rhodes
8     Mardi Gras Waltz 4'03
Joe Ely / Clark Terry
Credits :
Bass – Sam Jones
Drums – Art Taylor
Piano – Jimmy Jones
Producer, Liner Notes – Orrin Keepnews
Remastered By – Phil De Lancie
Trumpet, Flugelhorn – Clark Terry
Tuba – Don Butterfield

CORA LEE DAY - My Crying Hour (1960) M4A (tracks) lossless / lp / MONO [16bits 44.1khz]

Cora Lee Day (1914-1996) was virtually unknown when she recorded 'My Crying Hour' in 1960, the only album in her brief singing career, before becoming an actress. She bore a striking vocal resemblance to another legendary “Day,” the immortal “Lady Day” —Billie Holiday— but her voice still has that certain intangible quality that singles her out as a rare-find on the jazz scene and is sure to catch your ear. Under the direction of pianist Jimmy Jones and with a number of skillful arrangements, Cora Lee gained the drive and confidence to sing an engaging repertoire of fragile, moving songs in the manner that came most natural to her —soft and intimate. freshsoundrecords.
Tracklist :
1- My Crying Hour 3:47
(Sonny LeGlaire)
2- When Your Lover has Gone 3:01
(E.A.Swan)
3- Trouble is a Man 3:03
(Alec Wilder)
4- The Very Thought of You 3:17
(Ray Noble)
5- I See a Million People 3:32
(Robert Sour)
6- Ain't no Use 3:10
(Wyche-Kirkland)
7- It isn't Fair 2:38
(Warshauer-Sprigato-Himber)
8- You Taught Me How to Cry 3:31
(E.Johnson)
9- Weeping Willow 3:05
(Zola Garrett)
10- Try a Little Tenderness 3:21
(Woods-Campbell-Connelly)
11- I'm Gonna Laugh You Right Out of my Life 3:30
(Coleman-McCarthy)
12- The Masquerade is Over 3:16
(Magidson-Wrubel)
Credits:
Cora Lee Day, vocals
Accompanied by Sextet & Orchestra conducted by Jimmy Jones
Sextet (#2,3,6,7,9,10,12): Harry Edison, trumpet; Illinois Jacquet, tenor sax; Jimmy Jones, piano, Barry Galbraith, guitar; Eddie Jones, bass; Osie Johnson, drums.
Orchestra (#1,5,8,11): Arrangements by Jerry Valentine.
Recorded in New York City, June 1960

LURLEAN HUNTER - Blue And Setimental (1960) lp / Mp3

Singer Lurlean Hunter made five albums on her own during the second half of the '50s, starting out as a Lonesome Gal on RCA and winding up still feeling Blue & Sentimental for Atlantic. She was discovered in Chicago where she had been singing in many clubs, including a collaboration with drummer Red Saunders that held forth at the Club DeLisa. Hunter's move to New York City in 1955 was prompted by RCA's interest in recording her. The singer's recording career actually began before she left the Windy City at the behest of indie jazz labels, some of them quite short-lived -- such as Seymour, with a catalog topping out at four releases. The press described Hunter as a "blues thrush" in announcing her interpretations of three numbers actually written by the label's owner, producer and record store owner Seymour Schwartz.

The latter promotional blurb inevitably told some truth about Hunter's stylistic traits, if not her relation to winged fauna. Her recordings were more about rhythm & blues and pop than jazz, yet were done in an era when such sessions often involved fine mainstream jazz players in the accompaniment. The 1956 Night Life, for example, featured pianist Hank Jones and tenor saxophonist Al Cohn. Blue & Sentimental -- with arrangements by the progressive Jimmy Giuffre -- was reissued in 2000 as a split CD also including an album by fellow singer Betty Bennett, a former wife of pianist André Previn. Hunter's final recordings were done in 1964, at which point she was still well under 40 years old. She is known to have died young, although details of this tragedy are murky. In one version of the story she was knocked off by a mobster lover, yet whether anybody was really that mean to Lurlean cannot be completely confirmed.  by Eugene Chadbourne
Tracklist :
A1. Crazy He Calls Me
Bob Russell / Carl Sigman
A2. Blue & Sentimental
Count Basie / Mack David / Jerry Livingston
A3. If You Could See Me Now
Tadd Dameron / Carl Sigman
A4. Blue Turning Grey over You
Andy Razaf / Fats Waller
A5. As Long as I Live
Harold Arlen / Ted Koehler
A6. We'll Be Together Again
Carl Fischer / Frankie Laine
B1. Just Imagine
Lew Brown / Mack David / Buddy DeSylva / Ray Henderson
B2. My Kinda Love
Louis Alter / Jo Trent
B3. Fool That I Am
Floyd Hunt
B4. Then I'll Be Tired of You
E.Y. "Yip" Harburg / Arthur Schwartz
B5. The Song Is You
Oscar Hammerstein II / Jerome Kern
Credits:
Arranged By, Conductor – Jimmy Giuffre
Bass – George Duvivier (faixas: A1, A2, A4, A6, B5), Trigger Alpert (faixas: A3, A5, B1 to B4)
Clarinet – Rudy Rutherford
Drums – Don Lamond
Guitar – Jim Hall
Piano – Jimmy Jones
Tenor Saxophone – Bud Freeman
Trumpet – Harry Edison